Author: Crystal S. Anderson

Shinhwa: Perfect Men

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Shinhwa

Shinhwa is best known for being the oldest K-pop group that has maintained its original lineup, paving the way for longevity for other K-pop “idol” groups. Not only is the group one of the oldest “idol” groups, it has also pioneered promoting as a group while also supporting the individual careers of its members. One of the key factors in their longevity can be traced to the group’s constant presence in the public eye, before and after a four-year hiatus. In addition to consisting producing high-quality albums, “some members act, others make music, and some are even involved in helping others produce the next generation of idol groups” (The Altantic). Their long career can also be traced to their musical development:  “They may not have branched out and stretched the limits of pop, but they were always able to adapt to changes in pop music itself over the years. Their singles generally represent the sound of K-pop at the time they were released to the point w[h]ere you can basically start with “Resolver” and listen to their singles all the way up to “Venus” and have a history lesson along the way” (seoulbeats).

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BASICS

Name:  Shinhwa, which means myth or legend

Members:  Eric Mun, leader  (Mun Jung-Hyuk), Minwoo (Lee Minwoo), Dongwan (Kim Dongwan) , Hyesung (Jung Pil-Kyo), Junjin (Park Choongjae), Andy, maknae  (Lee Sunho)

Debut:  March 24, 1998

Label:  SM Entertainment (1998-2003), Good Entertainment (2003-2008), Shinhwa Company (2011-present)

Fandom:  Shinhwa Changjo, which means creating a legend

Website:  http://www.shinhwacompany.co.kr/

LABEL MATES

None

COLLABORATIONS

None

RELEVANT SOURCES

Amy He. “What the Backstreet Boys Could Learn from K-pop.” The Atlantic. 23 Jul 2013. Evernote.

Gaya. “SB Exchange #14: The Legend of Shinhwa.” seoulbeats. Evernote.

 

Mini Data Note: Why Fans Like Infinite!

Infinite
Infinite

Survey results suggests that Inspirits, fans of the male K-pop group Infinite, like the group because of its strong choreography, vocals and group dynamic.  These results come from the FAVORITE ARTIST: KARTIST3YR DATASET, part of the Hallyu Korean Popular Music Survey. This data note is based on a small sample of 13 respondents.

Choreography

Respondents repeatedly point to Infinite’s dance skills as a primary reason for the group’s appeal, noting their ability to dance in sync. One respondent stated that s/he liked the group because “they have one of the most dopest choreography ever; they are /nearly/synchronized.” Such dance skills can be seen in music videos like “Come Back Again.”

 

Vocals

Other respondents point to the group’s vocal talent. One respondent noted that “all of the members can sing, even the rappers.” Another noted the ability of the members to harmonize. This can be seen in their performance of “Diamond.”

Group Dynamic

Some respondents noted the dynamic between group members. One respondent described the members as “handsome and funny,” while another noted that “they’re serious on stage but down-to-earth off and funny/goofy.”

Sources

“FAVORITE ARTIST: KARTIST3YR DATASET,” KPOPCULTURE, accessed December 1, 2016, http://kpop.omeka.net/items/show/695.

Jeff Benjamin. “INFINITE’s ‘Destiny’ Music Video: Watch the EDM-Influenced Single’s Blockbuster Visual.” Billboard. 16 Jul 2013. http://www.billboard.com/articles/columns/k-town/1764404/infinites-destiny-music-video-watch-the-edm-influenced-singles. (1 Dec 2016).

KBS World TV. “INFINITE – Back / Diamond [Music Bank COMEBACK / 2014.07.18].” YouTube. 12 Aug 2014. https://youtu.be/scg2UqfC15U, (1 Dec 2016).

wolliment. “인피니트 ‘다시돌아와’ 안무ver. 뮤직비디오.” YouTube. 27 Jun 2010. https://youtu.be/6NzVJYEcruw, (1 Dec 2016).

 

 

1sagain: Da Hitmaker

1sagain (Park Jin Woo)
1sagain (Park Jin Woo)

1sagain is a Korean rapper who keeps a very low profile, generating very little media outside announcements about upcoming releases.

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BASICS

Name:  1sagain (“once again,” Park Jin Woo)

Members: N/A

Debut: 2002

Label: Neuron Music

Fandom: N/A

Website:  http://www.neuronmusic.co.kr/?albums=1sagain 

LABEL MATES

Ju Bora | Paul Kim | Molly D. | Bada Lee

COLLABORATIONS

1sagain and Heenain: Sick Of It All MV. neuron music. “원써겐 (1sagain) – 이젠 지쳤어.. (feat.히나인) – Official M/V, ENG Sub.” YouTube. 14 Sept 2011. https://youtu.be/6gskjWWOOTo. (29 Nov 2016).

1sagain and Illy: Love is Over MV. CJENMMUSIC. “원써겐 (1SaGain) – Love Is Over (Feat. 일리) MV.” YouTube. 17 Jan 2013. https://youtu.be/in3Ss9CRkf8. (29 Nov 2016).

1sagain and Donnie J: Depressed MV. neuron music. “원써겐&도니제이 (1sagain&Donnie J) – 우울해 (Depressed) – Official M/V, ENG Sub.” YouTube. 10 Jul 2011. https://youtu.be/1HUJR7CUr_w, (29 Nov 2016).

1sagain and Ju Bora: If You Leave Me MV. neuron music. “원써겐&주보라 – 날 떠난다는 가정 아래 (New) – Official M/V.” YouTube. 16 Jul 2014. https://youtu.be/7KeeRwpFCj0, (29 Nov 2016).

1sagain and Park Sumin: Go Home MV. neuron music. “원써겐 (1sagain) – Go Home (feat.박수민) – Official M/V, ENG Sub.” YouTube. 12 Mar 2014. https://youtu.be/C_p-6zykSpY, (29 Nov 20160.

RELEVANT SOURCES

N/A

Last Fans Standing: A Multiple Case Study of Longtime and Adult K-pop Fans

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Survey: Last Fans Standing: Longtime and Adult K-pop Fans

Most people assume that the only audience for modern Korean popular music (K-pop) is teenagers. As a result, they also assume that K-pop music lacks longevity.  However, the presence of longtime fans suggests that K-pop remains appealing to some fans for years. The existence of adult fans challenges the notion that K-pop only appeals to teenagers.  This multiple case study seeks to understand why individuals remain K-pop fans for years and why adults find K-pop appealing. For three years, I will be asking questions about these atypical fans of K-pop. This survey contains several open-ended and multiple-choice questions that ask how fans see themselves and ask about their K-pop music preferences and fan activity. Please take the survey!

 

CONFERENCE: Undergraduate Research and Digital Humanities @ CUR 2016 Biennial

Beyond the Classroom: Undergraduate Research and Digital Humanities

CUR 2016 Biennial Conference | Tampa, FL | June 23-28, 2016

Students may be “digital natives,” but how can we channel their informal interaction with digital environments into a rich research experience? This presentation shares digital tools that students can use for Internet research and explores the challenges of working on co-curricular collaborative digital humanities projects with undergraduates.

Undergraduate research is often constructed within a curricular context, focusing on the face-to-face experience between an instructor and student as crucial to mentoring and the transmission of inquiry and research skills. This presentation shares the experience of a collaborative digital humanities project conducted through the Internet. Because of its digital nature, the project invited students globally to participate as research assistants. Students were trained, received feedback on their work and participated in a research community almost entirely in a digital environment. As a result, new models of engaging students online emerged from the project. The project introduced students to an array of digital tools and trained them in skills that they could use in their curricular lives beyond the project. At the same time, the project encountered several challenges involved with motivating an undergraduate population outside of a course working on an unfunded project. The presentation will explore how the digital presents new opportunities for undergraduate research, especially in areas where faculty mentorship exists outside of the institution.

Presentation: Beyond the Classroom: Undergraduate Research and Digital Humanities

 

Fault Lines in Transcultural Fandom

Stock photo from Pixabay
                                                                           Stock photo from Pixabay

A recent clash of opinions over the status of Kangin, a member of the Korean pop group Super Junior, exposes fault lines that can occur with transcultural fandoms.

SM Entertainment issued a statement about Kangin’s recent DUI accident.  Not satisfied with the common period of self-reflection that typically follows a scandal,  a group of Korean fans created a petition to have Kangin leave the group entirely. Citing Kangin’s previous drunk driving incident and other controversies, the fans argue that Kangin’s continued presence will damage the group’s reputation:   “We see this series of acts not benefiting Super Junior’s image and career at all. Instead we view them as actions that only cause damage. From our position as fans who support Super Junior, we cannot help but discuss this issue that will influence their image greatly” (soompi).    However, comments on soompi’s Facebook post for the story reveals criticism of those who support Kangin’s departure. This is typical of several posts:  “Not true fans of Super Junior, if they want Kangin to leave the group.”

Such opinions reveal fault lines in the fandom that fall along lines of national identity. The original petition was brought by members of the Korean community site DC Inside, which cannot be accessed by those outside of Korea. While all who support Kangin’s departure are not Korean, the non-fan and anti-fan characterization of those who do certainly applies to the Korean fans who created the petition. Such statements overlook the contextualization of these fans. Operating within Korean culture, they reveal the danger they see to the reputation to the group, which plays differently inside of Korea than it does outside of Korea.  Subtly, fans who criticize the Korean petitioners ignore the Korean context and unwittingly impose their own cultural expectations.

Bertha Chin and Lori Hitchcock Morimoto argue that transcultural fandom offers “the possibility that a fannish orientation may (at times) supersede national, regional and/or geographical boundaries” (99). This certainly describes times when the transcultural fandom is in agreement. However, controversies often reveal how national perspectives inform how fans interact with one another over a controversy. Fandoms contend with notions of authenticity generally, creating hierarchies to determine who is a “real” fan. However, a scandal seems to make these existing fault lines even more pronounced.

With no in-depth knowledge of the petitioners, some fans question their identity as real fans. This is particularly odd given the history of the E.L.Fs, or Everlasting Friends, the Super Junior fandom. These fans reportedly have a history of taking action surrounding the membership of the group. Reportedly, they protested at SM Entertainment when it appeared the agency planned to add additional members to the group. Others have suggested that E.L.F’s pooled their money to buy SM Entertainment stock to become stockholders and have a say in such decisions. Documentation of such events are difficult to locate, but such stories point to the tendency for this particular fandom to be deeply concerned about the membership of the group. Moreover, given that this is a Korean pop group, it is intriguing that fans largely outside of Korea would question the fan identity of the petitioners.

Sources:

Adrian. “Some Fans ‘Abandon’ Kangin; Ask Him to Leave Super Junior.” hellokpop. 26 May 2016.

Chin, Bertha and Lori Hitchcock Morimoto. “Towards a Theory of Transcultural Fandom.” Participations: Journal of Audience & Reception Studies. 10.1 (2013): 92-108.

Soompi. “Do you think 슈퍼주니어(Super Junior)‘s Kangin should leave the group?” Facebook. 26 May 2016.

kokoberry. “SM Entertainment Releases Official Statement About Kangin’s DUI Accident.” soompi. 24 May 2016.

kokoberry. “Super Junior Fans Petition for Kangin to Leave Group.” soompi. 25 May 2016.